Woody Pirtle
The design world lost a true legend last month with the passing of Woody Pirtle, a graphic designer whose timeless work has left a mark on the industry. Best known for his witty, clever, and simplistic approach to design, Pirtle’s career was defined by a mastery of typography, corporate identity, and thoughtful design that always made you think—sometimes with a smile.
Born in 1944 in Corsicana, Texas, Pirtle grew up in Shreveport, Louisiana. He studied architecture and fine arts at the University of Arkansas before beginning his graphic design career at Stan Richards Group (now known as TRG) in Dallas. In 1978, he founded Pirtle Design, where his unique approach quickly earned him recognition and awards.
Around that time he met British graphic designer Alan Fletcher at a judging for Communication Arts magazine where he asked him if he had ever considered joining Pentagram, the world renowned design firm. Pirtle declined the offer stating that he wasn’t ‘quite ready’. However, in 1987, he finally joined Pentagram when he accepted an invitation from Colin Forbes to join Pentagram’s New York office, becoming its youngest partner at the time. Over the next 18 years, Pirtle worked alongside icons like Paula Scher and Michael Bierut, helping to transform the New York office into what it is today. In 2005, he retired from Pentagram and reopened Pirtle Design.
Woody Pirtle. Cover from his monograph titled "Woody Pirtle: Graphic Designer’s Design Life”. (Chinese Publication) 1991
Pirtle's designs were known for their cleverness and timelessness, especially when it came to logo design. His logo for Fine Line Features, for example, brilliantly combines the letter "F" with a film clapboard, an idea that I was inspired by when I was designing a logo for Fork n' Film, a movie-themed dining concept. His monogram for Railex cleverly and simplistically uses two lowercase "r"s arranged side by side to resemble parallel railroad tracks. Many of his logo designs are more that 40 years old but look like they were designed yesterday, such as the The Dallas Opera logo which at first glance, appears to be a single flowing form, but a closer look reveals the integration of a "D" for Dallas and an "O" for Opera. The calligraphic style adds a sense of elegance and movement, echoing the sweeping grandeur of a musical performance.
“I try to avoid trends and I always strive to do work that is timeless.”
Pirtle excelled not only in corporate identity but across all areas of design, including poster design. In 1982 he designed a poster for Knoll, titled Hot Seat which features a hand-drawn office chair shaped like a hot pepper. The design cleverly conveys the "hot" appeal of Knoll's furniture in Texas, blending the clean, modernist Helvetica type and generous white space with regional iconography. Another notable work is his poster for the Art Directors Association of Iowa, where he transforms an ear of corn into the iconic silhouette of the Chrysler Building. This design playfully merges Midwestern charm with the sophistication of New York architecture. Both posters showcase Pirtle's ability to combine humor, wit, and simplicity into a single, impactful image.
Woody quickly became one of my favorite graphic designers whose work I constantly turned to for inspiration. His work is a perfect example of how great design can be smart, simple, and full of personality. His ability to turn complex ideas into clever, timeless visuals is something every designer can learn from. Whether it was a logo that still feels fresh decades later or a poster that made you smile while getting the message across, Pirtle had a way of making design unforgettable. RIP Woody.
Unused logo concept I designed for Fork n’ Film, a movie-themed dining experience, 2024.
Woody Pirtle, poster for Knoll furniture, 1982. Found in Pentagram: The Compendium. 1998
Chrysler/Corn poster for the Art Directors Association of Iowa, 1990. Found in Woody Pirtle: Graphic Designer’s Design Life